DOCSLIB.ORG

Arranging 'Babel': Special Collections, Undergraduate Research, and Librarian Engagement"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arranging 'Babel': Special Collections, Undergraduate Research, and Librarian Engagement Please do not remove this page Arranging 'Babel': Special Collections, Undergraduate Research, and Librarian Engagement" Sauceda, Jonathan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643405780004646?l#13643522470004646 Sauceda, J. (2018). Arranging “Babel”: Special Collections, Undergraduate Research, and Librarian Engagement". In portal: Libraries and the Academy (pp. 391–408). Rutgers University. https://doi.org/10.7282/T33R0X7X This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 05:54:58 -0400 Arranging “Babel”: Special Collections, Undergraduate Research, and Librarian Engagement Jonathan Sauceda abstract: Undergraduate research offers academic librarians and archivists an additional motivation to engage students with special collections. Curriculum design, course instruction, and mentoring by librarians and archivists can benefit not only students but the institution as well. I explore an example of such engagement with a collection of New Jersey sheet music. The project gives students experience producing work with real-world implications. In addition, it increases digital holdings, reduces the backlog of under-cataloged materials, demonstrates the archive’s unique value to the institution, and makes new information available to scholars nationally and internationally. Introduction In “The Library of Babel,” Jorge Luis Borges imagines vast expanses of rooms connected by hallway and stairway, holding stacks upon stacks of books.1 Each gallery contains five shelves of 35 tomes with 410 pages. Taken together, the volumes of the library hold every possible combination of letters. The collection fills its caretakers with hope; they know that the truths of the past and future are all contained within. But its chaotic organization elicits suicidal despair because the likelihood of finding even a single, useful book is remote in the extreme. One might read the story as not merely a thought experiment but also as an attempt to elicit the simultaneous feelings of hope and hopelessness librarians like Borges may experience when confronted by the vastness of uncataloged, unorganized, and underexplored materials within their purview. While most academic librarians and archivists may not find themselves in charge of a collection of books with every possible letter combination, or even (like Borges) a national library, we often work in or close to a realm with comparably vast hoards of materials: special collections. Upon closer reflection, the typical archivist might feel that the librarians of Babel were fortunate in at least one respect: their items were all books. Archives can contain miscellaneous odds and ends, from Egyptian stela to American Revolutionary War letters to jazz instruments.2 Mirroring the state of Babel’s information control, these items may be uncataloged or cataloged only at the collection level or item level with very brief records. In contrast to Borges’s imaginary realm, where holdings neither increase nor decrease, real institutional collections continue to grow, frequently outpacing efforts to process and catalog them. Archives around the world have a tremendous amount of material of great interest to many researchers but often with limited visibility and accessibility. To study certain undigitized holdings at Rutgers Special Collections and University Archives in New Brunswick, for example, researchers must first know that a collection exists and what its contents are but this is often difficult to determine because some objects may only be cataloged at the collection level. Then they would likely arrange with an archivist to visit. If researchers come from New Jersey, they must plan to arrive at a time when the library is open. If they travel from elsewhere, they will likely spend a good amount of money on travel and lodging and still only have access during operating hours. An Americanist in Amsterdam with impressive scholarly credentials is at a significant disadvantage compared to a freshman undeclared major who sleeps in Frelinghuysen Hall across the street from Rutgers-New Brunswick’s core archive. Students have an advantage in terms of their access, but they lack knowledge of the research process and may not realize that they have the potential to make significant, scholarly contributions, while enriching their own academic experience. The movement toward original research at the undergraduate level offers librarians an exciting opportunity for engaging students with archives at an early part of their college career. It can help reveal hidden collections, but more significantly, it can teach students the considerable extent of their own ability to contribute to the world’s knowledge. Librarians and archivists are in a strategic position to foster this kind of initiative. In describing the following case study, I explore how librarian engagement with two undergraduate research programs offered significant benefit to the students by providing real world research experience, to the library by increasing user interest, to the university by highlighting unique materials, and to the scholarly world by making these items available electronically. Literature Review: Undergraduate Research and Archives Advances in technology have had the seemingly contradictory effect of making research more complex and specialized, accessible primarily to a small group of experts, while at the same time opening its creation up to interested amateurs or “the crowd.” The former is epitomized by digital humanists who supplement the writing of traditional scholarly narratives with investigations that adopt computational methodologies. The use of the interested amateur is perhaps less celebrated in the humanities but could have a significant impact on the production of research. Undergraduate research programs coupled with Internet publishing provide a mechanism by which the student can become engaged in providing an institutionally useful outcome. The following review of literature explores several of these kinds of initiatives as well as issues in special collections. There is a rich tradition of archivists and librarians advocating for student exposure to primary source materials.3 In 1949, for example, William Tate in volume one of Archives states “even a casual and sketchy acquaintance with Archives can do much to broaden and deepen, to enrich and enliven . history teaching.”4 Mary Jo Pugh pays special attention to students in Providing Reference Services for Archives and Manuscripts.5 She agrees that documents “can make history come alive,” but the approach to them should be well-structured to avoid overwhelming novice users.6 Research with primary sources requires a unique set of proficiencies, which Elizabeth Yakel and Deborah Torres divide into domain knowledge (familiarity with a subject area), artifactual knowledge (critical analysis), and archival knowledge (awareness of practices and principles of archives).7 Xiaomu Zhou’s study of an American history class in the Bentley Historical Library Archives at the University of Michigan in Ann Arbor combines Yakel and Torres’s tripartite knowledge model with Carol Kuhlthau’s well-known information seeking schema, demonstrating how information literacy and archival training can be merged successfully.8 Another rationale for the intellectual benefits of archival use for students is given by Marcus Robyns, who argues that archivists should move beyond assistance in finding and accessing materials into education traditionally reserved for the teaching faculty that develops “critical thinking,” or the “analysis and interpretation of . information.”9 In spite of literature demonstrating the value of student engagement with archives, penetration of these ideas may not be as deep as hoped: Ann Schmiesing and Deborah Hollis found that only 23 percent of visits to special collections were course-related.10 Doris Malkmus surveys the teaching of undergraduate history classes that use primary sources and recommends that librarians take a leadership role through outreach and reference, noting that most instructors view primary sources as essential.11 These studies do not set out to explore ways in which the students can provide a meaningful outcome beyond the very real benefits archival study provides to the individual. Having users involved in the creation of data has been addressed in Isto Huvila’s case study of a “participatory” archive in which users contribute record data via wikis.12 It is likely that for many of the courses Malkmus surveys, the documents students use are not digitally rare at all: there are only a few maps of colonial Virginia that would be useful in U.S. History 101, and most of those may already be well-known and digitized. As a result, this kind of investigation is less likely to contribute new knowledge, as Anthony Stamatoplos would ideally have undergraduate research do.13 He identifies undergraduate research as a rapidly emerging pedagogy in colleges and universities, with the sciences being the most common discipline group to champion the approach.14 In contrast to the research often produced in a course, independent undergraduate research creates new knowledge.15 He notes the general lack of discussion of how libraries can contribute to faculty-led undergraduate research and that nonlibrarian instructors
Load more

Recommended publications
  • Inventory of American Sheet Music (1844-1949)
    University of Dubuque / Charles C. Myers Library INVENTORY OF AMERICAN SHEET MUSIC (1844 – 1949) May 17, 2004 Introduction The Charles C. Myers Library at the University of Dubuque has a collection of 573 pieces of American sheet music (of which 17 are incomplete) housed in Special Collections and stored in acid free folders and boxes. The collection is organized in three categories: African American Music, Military Songs, and Popular Songs. There is also a bound volume of sheet music and a set of The Etude Music Magazine (32 items from 1932-1945). The African American music, consisting of 28 pieces, includes a number of selections from black minstrel shows such as “Richards and Pringle’s Famous Georgia Minstrels Songster and Musical Album” and “Lovin’ Sam (The Sheik of Alabami)”. There are also pieces of Dixieland and plantation music including “The Cotton Field Dance” and “Massa’s in the Cold Ground”. There are a few pieces of Jazz music and one Negro lullaby. The group of Military Songs contains 148 pieces of music, particularly songs from World War I and World War II. Different branches of the military are represented with such pieces as “The Army Air Corps”, “Bell Bottom Trousers”, and “G. I. Jive”. A few of the delightful titles in the Military Songs group include, “Belgium Dry Your Tears”, “Don’t Forget the Salvation Army (My Doughnut Girl)”, “General Pershing Will Cross the Rhine (Just Like Washington Crossed the Delaware)”, and “Hello Central! Give Me No Man’s Land”. There are also well known titles including “I’ll Be Home For Christmas (If Only In my Dreams)”.
    [Show full text]
  • B R E T T K R O E G E R C H R I S T O P H E R D E N N Y Saturday, May 23, 2015 4:00 P.M
    B R E T T K R O E G E R C H R I S T O P H E R D E N N Y SATURDAY, MAY 23, 2015 4:00 P.M. EAST HAMPTON LIBRARY EAST HAMPTON NY BRETT KROEGER, SOPRANO With Troupers, she sang the role of Edith for the company’s April 2014 production of Pirates of Penzance and was Gretchen in Victor Herbert’s The Red Mill in 2013. She performed with the Taconic Opera in its 2014 premier production of the Dan Montez oratorio, Jonah and was the featured vocalist at La Fenice in Venice, Italy, for Hebrew University’s European conference on “The Song of Songs.” In New York, she has sung the roles of Flora and Annina in La Traviata (LDTS Temple, Bill Schuman Presents); Tisbe in Cenerentola and Micaela in Carmen (New York Consulate of Argentina). For the Manhattan Opera Repertory Company, she performed Tatiana in Eugene Onegin and Pamina in Die Zauberflöte, Sandman/Dewfairy in Hansel and Gretel, and Marguerite in Faust. She was a resident artist with Dicapo Opera. Other credits include solo performances in the Absolute Ensemble’s U.S. premier of Daniel Schnyder’s Casanova and in the world premier of Robert Cuckson’s “Cantata on Acadian Texts” with the Columbia University Bach Society. She has given solo recitals during summer festivals throughout Tuscany and at the Istituto di Cultura in New York City. She sang in concerts for the Richard Tucker Foundation, at Christ’s and St. Stephen’s Episcopal Church and at Concordia College in New York.
    [Show full text]
  • Printed Music Collection (Single Sheet Music) Title Composer Publisher
    Printed Music Collection (Single Sheet Music) Copyright / Publication Title Composer Publisher Date Physical description Other information Sabbath Chimes F. Henri Klickmann Harold Lossiter Music Company 1913 9" x 12", 6 pages reverie arranged, fingered, and edited by Moissaye Boguslawski; music by Sack Waltz, The Metcalf Moderné Publicaitons 1936 9" x 12", 4 pages sack waltz piano solo Harmonized and arranged by Johan S. Svendsen; Revised and fingered by Gustav Saeterjentens Sondag (Sehnsucht Der Saenger.; "Favorite Recital Solos For the Sennerin) Ole Bull Carl Fischer, Inc. 1901 10.5" x 13.5", 3 pages Violin with Piano Accopaniment Series 1" lyrics by Edward Madden; music by Joe Niemeyer and Nina Payne featured on Sail On To Ceylon Herman Paley Jerome H. Remick & Co. 1916 10.5" x 13.5", 6 pages cover Carmen Lombardo and John Jacob Sailboat In The Moonlight, A Loeb Crawford Music Corporation 1937 9" x 12", 6 pages featured by Mickey Alpert Carmen Lombardo and John Jacob alternate cover, with Guy Lombardo Sailboat In The Moonlight, A Loeb Crawford Music Corporation 1937 9" x 12", 6 pages featured on cover revised edition with ukelele arrangement, Saint Louis Blues W.C. Handy Handy Bros. Music Co. Inc. 1914 9" x 12", 6 pages (detached) Marion Harris featured on cover Salome William Loraine F.A. Mills Music Publisher 1898 10.5" X 13.5", 10 pages intermezzo for the pianoforte lyrics by Harry Williams; music by 10.5" x 13.5", 6 pages San Antonio Egbert Van Alstyne Jerome H. Remick & Co. 1907 (detached) cover art by Starmer Will Rossiter "The Chicago 10.5" x 13.5", 8 pages Sand Dunes (My Desert Rose) Byron Gay Publisher" 1918 (detached) "an oriental one-step", originally interpreted by Norma Brandt (America's Will Rossiter "The Chicago Rising Danseuse) in "Dance of the Sand Sand Dunes Byron Gay Publisher" 1918 10.5" x 13.5", 8 pages Dunes" lyrics by Haven Gillespie; music by J.
    [Show full text]
  • Sheet Music Collection Index
    Sheet Music Collection Denver Public Library – WHG This collection contains over 705 individual scores for a large variety of music for many different instruments and vocal parts. Dating from the 1890s into the 1960s, genres include cowboy ballads, movie theme songs, two-steps, foxtrots, polkas, tangos, waltzes, piano studies and rags, choral pieces, school marches, Christmas and religious music, Spanish, Mexican, Native American and Hawaiian songs, military and patriotic pieces, romantic classics and parlor music. Many titles are about Colorado and Denver, and many other western states are included. Notable titles include “Four Pastorales – Music by Cecil Effinger, words by Thomas Hornsby Ferril,” “Colorado Volunteers March - By Oswald H. Richter,” “DeHarport's Practical Method for Tenor Banjo,” “Democratic Fun - A campaign cake walk by Robert Buechel,” “Fremont's Great Republican March,” “Hush My Little Coon,” “If I Had a Wagon, I Would Go To Colorado,” “National Farmers Union - A songbook of the Farmers Educational and Cooperative Union of America,” and “When the Columbines are Blooming in the Colorado Dells.” Sheet Music Collection Last Update 10/07/2020 [approx. 705 titles] These are housed on Level 6, in the “H Range” in the eastern half. [The filing strategy is inconsistent. Most often, items are filed by the first-listed creator name, usually “lyrics” or “words by” names. Some items are filed by the second creator, usually “music by.” Items without noted authors are by title. Items on the list below are by title.] Box 1 A-Bo RgH
    [Show full text]
  • Exegesis of the Song of Songs with Comments from the Great American Songbook Robert Case Sunday School Class 2016 Faith Presbyterian Church
    Exegesis of the Song of Songs with comments from The Great American Songbook Robert Case Sunday School Class 2016 Faith Presbyterian Church Part 10 “In the Shade of the Old Apple Tree” In the Shade of the Old Apple Tree is a 1905 popular song written by Harry Williams and Egbert Van Alstyne. It was one of the biggest hits of the early decade. The meter of its chorus is in the form of a limerick. As was fashionable at the time, it as a highly sentimental tune. In the1939 movie The Wizard of Oz, in the scene involving the talking apple trees who become angry with Dorothy for picking apples off them, the strains of this song are heard in the background. The original verses tell the story about a lost love: “In the shade of the old apple tree, Where the love in your eyes I could see, Where the voice that I heard, Like the song of a bird, Seemed to whisper sweet music to me, I could hear the dull buzz of the bee In the blossoms as you said to me, "With a heart that is true, "I'll be waiting for you, In the shade of the old apple tree." Mr. Van Alstyne wrote many popular songs during the early years of the 20th century including “Memories.” A song like this, dripping with sentiment even by early-1900s standards, lent itself to parodies. Popular recording artist, Billy Murray recorded the most popular one. The verse describes him passing by the house of Maggie Jones, a maiden "homelier than me", who asks him to fetch some apples on the promise of giving him one of the pies she plans to bake: “So I climbed up the old apple tree, For a pie was a real thing to me.
    [Show full text]
  • Gus Kahn Musical Compositions and Papers
    http://oac.cdlib.org/findaid/ark:/13030/c81n85mj No online items Gus Kahn musical compositions and papers Finding aid prepared by Doug Johnson, 2015; machine-readable finding aid created by Caroline Cubé. UCLA Library Special Collections Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA, 90095-1575 (310) 825-4988 [email protected] ©2015 The Regents of the University of California. All rights reserved. Gus Kahn musical compositions PASC-M 614 1 and papers Title: Gus Kahn musical compositions and papers Collection number: PASC-M 614 Contributing Institution: UCLA Library Special Collections Language of Material: English Physical Description: 3.2 linear ft.(1 phonograph record storage box, 2 flat boxes, and 5 document boxes) Date: 1913-1955 Abstract: Gus Kahn was a prolific lyricist who wrote for the stage and for films. The collection consists of disc recordings, music manuscripts, lyrics, letters of condolence, and some personal papers. Physical Location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library Special Collections Reference Desk for paging information. Creator: Kahn, Gus Restrictions on Use and Reproduction Property rights to the physical object belong to the UCLA Library Special Collections. Literary rights, including copyright, are retained by the creators and their heirs. It is the responsibility of the researcher to determine who holds the copyright and pursue the copyright owner or his or her heir for permission to publish where The UC Regents do not hold the copyright. Restrictions on Access COLLECTION STORED OFF-SITE AT SRLF: Open for research.
    [Show full text]
  • El CINECLUB UNIVERSITARIO Se Crea En 1949 Con El Nombre De “Cineclub De Granada”
    La noticia de la primera sesión del Cineclub de Granada Periódico “Ideal”, miércoles 2 de febrero de 1949. El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2018-2019, cumplimos 65 (69) años. 3 ABRIL - MAYO 2019 APRIL - MAY 2019 MAESTROS DEL CINE DE ANIMACIÓN (II): MASTERS OF ANIMATION FILMMAKING (II): LOS UNIVERSOS “MERRIE MELODIES” THE UNIVERSES “MERRIE MELODIES” & “LOONEY TUNES” & “LOONEY TUNES” Viernes 26 abril / Friday 26th april 21 h. FRIGID HARE (Chuck Jones, 1949) Programa nº 1 (1936-1942) [ 70 min. ] FOR SCENT-IMENTAL REASON (Chuck Jones, 1949) RABBIT HOOD (Chuck Jones, 1949) 9 cortometrajes v.o.s.e. / OV film with Spanish subtitles HOMELESS HARE (Chuck Jones, 1950) BUNKER HILL BUNNY (‘Friz’ Freleng, 1950) I LOVE TO SINGA (Tex Avery, 1936) CANARY ROW (‘Friz’ Freleng, 1950) HAVE YOU GOT ANY CASTLES? (Frank Tashlin, 1938) PORKY IN WACKYLAND (Robert Clampett, 1938) THUGS WITH DIRTY MUGS (Tex Avery, 1939) OLD GLORY (Chuck Jones, 1939) Viernes 10 mayo / Friday 10th may 21 h. ELMER’S CANDID CAMERA (Chuck Jones, 1940) Programa nº 4 (1950-1954) [ 70 min. ] YOU OUGHT TO BE IN PICTURES (‘Friz’ Freleng, 1940) 9 cortometrajes HOLLYWOOD STEPS OUT (Tex Avery, 1941) v.o.s.e. / OV film with Spanish subtitles THE HEP CAT (Robert Clampett, 1942) RABBIT OF SEVILLE (Chuck Jones, 1950) RABBIT FIRE (Chuck Jones, 1951) FEED THE KITTY (Chuck Jones, 1952) Martes 30 abril / Tuesday 30th april 21 h. RABBIT SEASONING (Chuck Jones, 1952) DON’T GIVE UP THE SHEEP (Chuck Jones, 1953) Programa nº 2 (1943-1948) [ 70 min.
    [Show full text]
  • X-15-Steelin Tricks.Qxd
    The Bear Facts Aloha..... this month, the Tab. is Drifting and Dreaming. Note: According to Lawrence Brown of Texas, the above is actu - Recorded by many in the USA, Japan or Hawaii, but not ally the Dave Peyton pit band at the Regal Theatre, Chicago. Tom in thier present day repertoire although it is definitely in Lord's Jazz Discography, lists it under Fess Williams because reis - sues on LPs and CDs list it as by Fess Williams. the repertoire of most European players. Orrin Tucker and His Orchestra , Columbia E13th tuning:- E-C#-B-G#-E-D-B-G# (or E) Matrix LA 2073A (C63-8): Drifting and Dreaming, record - History ed December 5, 1939 , Columbia Master 36227, 78 rpm OCLC DRIFTING AND DREAMING: Sweet Paradise 84345674 Writer: Erwin Schmidt, Loyal Curtis, Haven Gillespie *, Matrix LA 2073A: Drifting and Dreaming, recorded December 5, Egbert Van Alstyne 1939, Columbia Master 35332, 78 rpm OCLC 85003553 Publisher: Edwin H. Morris & Co., Inc./Gillespie Haven Music Guy Lombardo and the Royal Canadians 1925 , Decca Sheet music Artist: G.S. & L.B. Curtis., New York Records ( 1941 ) OCLC 192071768 Side A Matrix 69133: Drifting and Dreaming, Kenny Gardner (vocals) Side B Matrix 69132: When The Organ Played at Twilight Recorded in New York City, May 5, 1941 Joe Rich & His Dutch Boys HMV NE657 OMD- 4500-1 Drifting and dreaming (vTrio) Calcutta, ( 1942 ) Charlie Smith-steel gtr; Leo Cress-gtr; Ed Muller auf der Heide- uke; Rudi Severijns-bass; Joe Rich-vocal; Pessy, Muller & Mann - eveld-vocal trio Bing Crosby with The Les Paul Trio , Decca 25185, A- 578, 78 rpm ( 1947 ) OCLC 276420081 Side A Matrix L 4357: It's Been a Long, Long Time, recorded Followed in the UK by: February 13, 1947, in Los Angeles Gerald Bright Side B Matrix L 3889: Drifting and Dreaming, recorded on July Campell, Connelly & Co., London, England 1927 .
    [Show full text]
  • Title Composer Lyricist Arranger Cover Artist Publisher Date Notes I Ain't Got Weary Yet! Percy Wenrich Howard Johnson Leo Feist Inc
    Title Composer Lyricist Arranger Cover artist Publisher Date Notes I Ain't Got Weary Yet! Percy Wenrich Howard Johnson Leo Feist Inc. 1918 I Ain't Nobody's Darling Robert King Elmer Hughes Wohlman Skidmore Music Co. Inc. 1921 I Almost Lost My Mind Ivory Joe Hunter Ivory Joe Hunter St. Louis Music Corporation 1950 I Am a Promise William Gaither William Gaither Gaither Music Co. 1975 I Am Always Building "Castles in the Air" A. Fred Phillips Ted Garton W.M. Fisher Ted Garton Music Co. 1919 Benjamin Edwards Benjamin Edwards I Am an American Neal Neal Boston Music Co. 1938 I Am Climbing Mountains (Song) Kendis Kendis Frederick S. Manning Jerome H. Remick & Co. 1919 I Am Persuaded Audrey Mieir Audrey Mieir Manna Music, Inc. 1957 Romans 8:38-39 I Am So Shy Theo. Bendix R.E. Graham C.H. Ditson & Co. 1882 De Sylva, Brown and Henderson, I Apologize Al Hoffman Al Hoffman Inc. 1931 I Apologize Al Hoffman Al Hoffman Crawford Music Corporation 1931 I Assure You David Hall Joseph Koleno Nordyke Publishing Company 1948 I Believe Jule Styne Sammy Cahn Sinatra Songs, Inc. 1947 I Believe Ervin Drake Ervin Drake Cromwell Music, Inc. 1953 Medium, C I Believe Ervin Drake Ervin Drake Cromwell Music, Inc. 1953 I Believe in Miracles (Fox-Trot Song) Pete Wendling Sam M. Lewis HBK Leo Feist, Inc. 1934 I Believe in Miracles (Fox-Trot Song) Pete Wendling Sam M. Lewis HBK Leo Feist, Inc. 1934 I Called You My Sweetheart James V. Monaco Grant Clarke Leo Feist, Inc. 1917 I Can Dream, Can't I? Sammy Fain Irving Kahal Marlo Music Corp.
    [Show full text]
  • Guide to the Sam Devincent Collection of Illustrated American Sheet Music, Series 4: Songwriters Volumes I and II
    Guide to the Sam DeVincent Collection of Illustrated American Sheet Music, Series 4: Songwriters Volumes I and II NMAH.AC.0300.S04 NMAH Staff Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents note.............................................................................................. 21 Biographies of Song Writers............................................................................................ 2 Arrangement note.......................................................................................................... 22 Bibliography.................................................................................................................... 22 Container Listing ........................................................................................................... 23 Subseries 4.1: Burt Bacharach and Hal David, 1943-1971.................................... 23 Subseries 4.2: Irving Berlin, 1907-1962................................................................. 23 Subseries 4.3: B. G. De Sylva, Lew Brown, and Ray Henderson, 1913-1941........ 34 Subseries 4.4: Sammy Cahn, 1936-1967.............................................................
    [Show full text]
  • The Fraydele Oysher Yiddish Theater Collection: Contents and Highlights in Context
    The Fraydele Oysher Yiddish Theater Collection: Contents and Highlights in Context A Senior Honors Thesis Presented in Partial Fulfillment of the Requirements for Graduation with research distinction in the undergraduate colleges of The Ohio State University By Tom Tearney The Ohio State University May 2010 Project Advisors: Professor Neil Jacobs and Professor David Miller, Department of Germanic Languages and Literatures For twenty years, a significant resource and insight into the world of Yiddish theater sat dormant and untouched in the archives of The Ohio State University. Purchased in 1990 from an antiquities dealer by The Ohio State University, The Fraydele Oysher Yiddish Theater Collection was only first thoroughly examined and documented by a scholar in 2010. The collection is named for the previous owner, Fraydele Oysher, the sister of the much more famous Moyshe Oysher. Moyshe Oysher had a successful stage career, even appearing in some films. He is well known for his amazing voice as a cantor. Fraydele had a successful career in Yiddish theater herself, though she was often in the shadow of her brother. The collection is extraordinarily diverse, consisting of approximately 300 documents, with a date range of 1875-1990. The collection contains documents in Yiddish, English, German, Russian, Hebrew, Ukrainian, Polish, Spanish, Italian, Romanian and French. This collection consists of sheet music, play scripts, film scripts, hand-written music, photographs, handbill advertisements, sides, poems, news articles, receipts, reel-to-reel audio recordings, catalogs and even hand-written notes to and from Fraydele Oysher. The condition of the documents varies greatly, with some in near-mint condition, while others are greatly tattered and must be given the utmost of care when handling.
    [Show full text]
  • Collection of Sheet Music by and About African Americans M1433
    http://oac.cdlib.org/findaid/ark:/13030/kt25803511 Online items available Collection of Sheet Music by and about African Americans M1433 Glynn Edwards Department of Special Collections and University Archives October 2006 ; revised 2020 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Collection of Sheet Music by and M14338425 1 about African Americans M1433 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Collection of sheet music by and about African Americans Identifier/Call Number: M1433 Identifier/Call Number: 8425 Physical Description: 10.5 Linear Feet(648 pieces; 7 flat boxes) Date (inclusive): 1851-1974 Date (bulk): 1880s-1930s Abstract: The collection consists of sheet music by African American writers or African American publishers, as well as music with African-American themes. Both series may involve the use of caricature both in lyrics and in cover imagery. All were published between 1851 and 1974, with the majority between 1880 and 1940. Special Collections and University Archives materials are stored offsite and must be paged 36 hours in advance. Immediate Source of Acquisition This collection was purchased by Stanford University, Special Collections in 2004. Scope and Contents The collection is arranged in two series: Series I. Sheet music written by African Americans and Series II. Sheet music with African American themes. Within each series, the material is arranged alphabetically by song title. Conditions Governing Access Open for research. Note that material must be requested at least 36 hours in advance of intended use. 625 items from the collection have been digitized and are accessible here: https://searchworks.stanford.edu/view/5682048 Conditions Governing Use While Special Collections is the owner of the physical and digital items, permission to examine collection materials is not an authorization to publish.
    [Show full text]